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page149from Nordic Architects Writes
1958
Aulis Blomstedt
The Problem of Architectural Form
The topic I have chosen – the problem of
architectural form – is such an extensive one that I shall be able only to
throw a limited amount of light upon it within the framework of a short lecture.
However, it is of major importance because it is one of the key issues of
architectural design. It appears as a central problem, a problem that demands
an answer, in all the practical tasks of the architect.
Architectural
form is akin to an iceberg: the part that can be seen is only a fraction of the
whole. Insofar as the invisible part is, in fact, the iceberg itself, and the
visible part is effectively only a sign of a more profound reality. This is
something that every architect knows. To us, the drawing board has two visible,
load-bearing supports of exactly the same significance as the invisible part
between them. The essential elements of architectural design are mainly
abstractions. As Lao-tzu said: “The value of what is depends for use on what is
not.” A chimney that you can see certainly has its worth, but it is the flue
you cannot see that is really useful.
The
home of architectural form is an unseen world of different relationships and
proportions. Imagine what would happen to visible, architectural form if the
towers of Notre Dame were to shrink to half their height, or the building mass
of the Parthenon were to grow three times higher. Or, if the balconies at La
Scala in Milan, which allow you to watch the performance from different angles
and different levels, were to be removed.
Unfortunately,
our northern languages do not include a precise vocabulary that we could use to
operate in the various branches of the world of relationships and proportions
with sufficient clarity. In the major civilized languages, things are
different. For example, the French words “relation”, “conception”, “position”, “rapport”,
“distance”, “dimension”, “proportion” with their precise meanings are available
for explaining the intricacies of architectural form. Compared with this, our
own vocabulary is poor – and seldom sufficiently unambiguous. Any attempt to
explain architectural form is liable to become confused right at the start,
because of the terminology.
Because
of this, I have chosen to supplement my talk with another method of presentation,
a visual one, with which we are more familiar. But this method of presentation,
that is to say an architectural entity broken down into projected illustrations
forms a reality that is, of course, contrary to our ideas. (Showing still
transparencies of the shapes of countries, or of novels, or of functions, would
of course be even less helpful.)
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At 2021-11-02 20:28:57,
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